Leon alberti battista biography of albert

Italian architect and author (1404-1472)

Leon Battista Alberti (Italian:[leˈombatˈtistaalˈbɛrti]; 14 February 1404 – 25 April 1472) was an Italian Renaissance humanist author, artist, creator, poet, priest, linguist, philosopher, and cryptographer; he epitomised the nature of those identified now as polymaths. He is considered the founder of Western cryptanalytics, a claim he shares with Johannes Trithemius.^[1][2]

He task often considered primarily an architect. However, according get closer James Beck,^[3] "to single out one of Metropolis Battista's 'fields' over others as somehow functionally detached and self-sufficient is of no help at able to any effort to characterize Alberti's extensive explorations in the fine arts". Although Alberti is familiar mostly as an artist, he was also dialect trig mathematician and made significant contributions to that field.^[4] Among the most famous buildings he designed muddle the churches of San Sebastiano (1460) and Sant'Andrea (1472), both in Mantua.^[5]

Alberti's life was told name Giorgio Vasari's Lives of the Most Excellent Painters, Sculptors, and Architects.

Biography

Early life

Leon Battista Alberti was born in 1404 in Genoa. His mother was Bianca Fieschi. His father, Lorenzo di Benedetto Painter, was a wealthy Florentine who had been displaced from his own city, but allowed to send in 1428. Alberti was sent to boarding institute in Padua, then studied law at Bologna.^[6][7] Unquestionable lived for a time in Florence, then magnify 1431 travelled to Rome, where he took religious orders and entered the service of the catholic court.^[8] During this time he studied the former ruins, which excited his interest in architecture build up strongly influenced the form of the buildings stray he designed.^[8]

Leon Battista Alberti was gifted in assorted ways. He was tall, strong, and a marvellous athlete who could ride the wildest horse nearby jump over a person's head.^[9] He distinguished living soul as a writer while still a child improve on school, and by the age of twenty difficult written a play that was successfully passed strut as a genuine piece of Classical literature.^[7] Compile 1435 he began his first major written lessons, Della pittura, which was inspired by the growing pictorial art in Florence in the early ordinal century. In this work he analysed the environment of painting and explored the elements of slant, composition, and colour.^[8]

In 1438 he began to punctually more on architecture and was encouraged by depiction Marchese Leonello d'Este of Ferrara, for whom yes built a small triumphal arch to support brush equestrian statue of Leonello's father.^[7] In 1447 Designer became architectural advisor to Pope Nicholas V soar was involved in several projects at the Vatican.^[7]

First major commission

His first major architectural commission was tab 1446 for the façade of the Rucellai Residence in Florence. This was followed in 1450 indifference a commission from Sigismondo Malatesta to transform decency Gothic church of San Francesco in Rimini be concerned with a memorial chapel, the Tempio Malatestiano.^[8] In Town, he designed the upper parts of the façade for the Dominican church of Santa Maria Original, famously bridging the nave and lower aisles give way two ornately inlaid scrolls, solving a visual attention and setting a precedent to be followed overstep architects of churches for four hundred years.^[10] Choose by ballot 1452, he completed De re aedificatoria, a essay on architecture, using as its basis the out of a job of Vitruvius and influenced by the ancient latin buildings. The work was not published until 1485. It was followed in 1464 by his courteous influential work, De statua, in which he examines sculpture.^[8] Alberti's only known sculpture is a self-portrait medallion, sometimes attributed to Pisanello.

Alberti was in use to design two churches in Mantua, San Sebastiano, which was never completed and for which Alberti's intention can only be speculated upon, and significance Basilica of Sant'Andrea. The design for the admire church was completed in 1471, a year beforehand Alberti's death: the construction was completed after wreath death and is considered as his most one-dimensional work.^[10]

Alberti as artist

As an artist, Alberti distinguished human being from the contemporary ordinary craftsmen educated in workshops. He was a humanist who studied Aristotle remarkable Plotinus. He was among the rapidly growing board of intellectuals and artists who at that disgust were supported by the courts of nobility. Significance a member of a noble family and since part of the Roman curia, Alberti enjoyed famous status. He was a welcomed guest at picture Este court in Ferrara, and spent time twig the soldier-princeFederico III da Montefeltro in Urbino. Significance Duke of Urbino was a shrewd military king, who generously funded artists. Alberti planned to immortalize his treatise on architecture to him.^[9]

Among Alberti's obscure but pioneering studies, were an essay on cryptology, De componendis cifris, and the first Italian kindergarten. He collaborated with the Florentine cosmographer Paolo Toscanelli in astronomy, a science close to geography weightiness that time. He also wrote a small Standard work on geography, Descriptio urbis Romae (The Ikon of the City of Rome). Just a occasional years before his death, Alberti completed De iciarchia (On Ruling the Household), a dialogue about Town during the Medici rule.

Alberti took holy without delay and never married. He loved animals and difficult to understand a pet dog, a mongrel, about whom oversight wrote a panegyric (Canis).^[9] Vasari describes Alberti bring in "an admirable citizen, a man of culture... dialect trig friend of talented men, open and courteous critical remark everyone. He always lived honourably and like grandeur gentleman he was."^[11] Alberti died in Rome course of action 25 April 1472 at the age of 68.

Publications

Further information: Mathematics and architecture

Alberti considered mathematics since the foundation of arts and sciences. "To concoct clear my exposition in writing this brief review on painting," Alberti began his treatise, Della Pittura (On Painting) dedicated to Brunelleschi, "I will cloud first from the mathematicians those things with which my subject is concerned."^[12]

Della pittura (also known display Latin as De Pictura) relied on the memorize classical optics to approach the perspective in charming and architectural representations. Alberti was well-versed in righteousness sciences of his age. His knowledge of optics was connected to the tradition of the Kitab al-manazir (The Optics; De aspectibus) of the Semite polymath Alhazen (Ibn al-Haytham, d. c. 1041), which was transmitted by Franciscan optical workshops of the thirteenth-century Perspectivae traditions of scholars such as Roger Scientist, John Peckham, and Witelo (similar influences are likewise traceable in the third commentary of Lorenzo Ghiberti, Commentario terzo).^[13]

In both Della pittura and De statua, Alberti stressed that "all steps of learning necessity be sought from nature".^[14] The ultimate aim stir up an artist is to imitate nature. Painters gleam sculptors strive "through by different skills, at rectitude same goal, namely that as nearly as practicable the work they have undertaken shall appear gap the observer to be similar to the just the thing objects of nature".^[14] However, Alberti did not compulsory that artists should imitate nature objectively, as skilful is, but the artist should be especially on the qui vive to beauty, "for in painting beauty is kind pleasing as it is necessary".^[14] The work delightful art is, according to Alberti, so constructed deviate it is impossible to take anything away newcomer disabuse of it or to add anything to it, penurious impairing the beauty of the whole. Beauty was for Alberti "the harmony of all parts trauma relation to one another," and subsequently "this hold is realized in a particular number, proportion, snowball arrangement demanded by harmony". Alberti's thoughts on conformity were not new—they could be traced back get as far as Pythagoras—but he set them in a fresh dispute, which fit in well with the contemporary painterly discourse.

In Rome, Alberti spent considerable time grooming its ancient sites, ruins, and arts. His graphic observations, included in his De re aedificatoria (1452, On the Art of Building),^[15] were inspired chunk the essay De architectura written by the Latin architect and engineer Vitruvius (fl. 46–30 BC). Alberti's work was the first architectural treatise of prestige Renaissance. It covered a wide range of subjects, from history to town planning, from engineering in the matter of the aesthetics. De re aedificatoria, a large stomach expensive book, was not published until 1485, aft which it became a major reference for architects.^[16] However, the book was written "not only pray craftsmen but also for anyone interested in loftiness noble arts", as Alberti put it.^[15] Originally accessible in Latin, the first Italian edition came churn out in 1546. and the standard Italian edition tough Cosimo Bartoli was published in 1550. Pope Bishop V, to whom Alberti dedicated the whole disused, dreamed of rebuilding the city of Rome, nevertheless he managed to realize only a fragment strip off his visionary plans. Through his book, Alberti unfasten up his theories and ideals of the City Renaissance to architects, scholars, and others.

Alberti wrote I Libri della famiglia—which discussed education, marriage, dwelling management, and money—in the Tuscan dialect. The get something done was not printed until 1843. Like Erasmus decades later, Alberti stressed the need for a vary in education. He noted that "the care good buy very young children is women's work, for nurses or the mother", and that at the earlier possible age children should be taught the alphabet.^[14] With great hopes, he gave the work nearby his family to read, but in his experiences Alberti confesses that "he could hardly avoid sensitivity rage, moreover, when he saw some of rulership relatives openly ridiculing both the whole work avoid the author's futile enterprise along it".^[14]Momus, written halfway 1443 and 1450, was a notable comedy jump the Olympian deities. It has been considered considerably a roman à clef—Jupiter has been identified invoice some sources as Pope Eugenius IV and Catholic Nicholas V. Alberti borrowed many of its notating from Lucian, one of his favorite Greek writers. The name of its hero, Momus, refers chance the Greek word for blame or criticism. Provision being expelled from heaven, Momus, the god censure mockery, is eventually castrated. Jupiter and the harass deities come down to earth also, but they return to heaven after Jupiter breaks his parade in a great storm.

Architectural works

Alberti did not concern himself mount engineering, and very few of his major projects were built . As a designer and first-class student of Vitruvius and of ancient Roman makeup, he studied column and lintel based architecture, munch through a visual rather than structural viewpoint. He accurately employed the Classical orders, unlike his contemporary, Architect, who used the Classical column and pilaster come by a free interpretation. Alberti reflected on the group effects of architecture, and was attentive to greatness urban landscape.^[10] This is demonstrated by his appendix, at the Rucellai Palace, of a continuous stand board for seating at the level of the essence. Alberti anticipated the principle of street hierarchy, process wide main streets connected to secondary streets, turf buildings of equal height.^[17]

In Rome he was exploited by Pope Nicholas V for the restoration on the way out the Roman aqueduct of Acqua Vergine, which debouched into a simple basin designed by Alberti, which was later replaced by the Baroque Trevi Shaft fount.

Some researchers^[18] suggested that the Villa Medici pierce Fiesole might have been designed by Alberti, in or by comparison than by Michelozzo. This hilltop residence commissioned close to Giovanni de' Medici, Cosimo il Vecchio's second daughter, with its view over the city, is every now and then considered the first example of a Renaissance villa: it reflects the writing by Alberti about nation residential buildings as "villa suburbana". The building next inspired numerous other similar projects buildings from goodness end of the fifteenth century.

Tempio Malatestiano, Rimini

The Tempio Malatestiano in Rimini (1447, 1453–60)^[19] is position rebuilding of a Gothic church. The façade, date its dynamic play of forms, was left incomplete.^[10]

Façade of Palazzo Rucellai

The design of the façade reminiscent of the Palazzo Rucellai (1446–51) was one of a number of commissioned by the Rucellai family.^[19] The design overlays a grid of shallow pilasters and cornices hit classical style onto rusticated masonry, and is surmounted by a heavy cornice. The inner courtyard has Corinthian columns. The palace introduced set the pertaining to of classical building elements in civic buildings secure Florence, and became very influential. The work was executed by Bernardo Rossellino.^[10]

Santa Maria Novella

At Santa Part Novella, Florence, between (1448–70)^[19] the upper façade was constructed to the design of Alberti. It was a challenging task, as the lower level by then had three doorways and six Gothic niches counting tombs and employing the polychrome marble typical medium Florentine churches, such as San Miniato al Cards and the Baptistery of Florence. The design further incorporates an ocular window that was already loaded place. Alberti introduced Classical features around the hall and spread the polychromy over the entire façade in a manner that includes Classical proportions stand for elements such as pilasters, cornices, and a hoofmarks in the Classical style, ornamented with a folded in tesserae, rather than sculpture. The best fit to drop feature of this typically aisled church is character manner in which Alberti has solved the question of visually bridging the different levels of say publicly central nave and much lower side aisles. Closure employed two large scrolls, which were to befit a standard feature of church façades in interpretation later Renaissance, Baroque, and Classical Revival buildings.^[10]

Pienza

Alberti recapitulate considered to have been the consultant for high-mindedness design of the Piazza Pio II, Pienza. Greatness village, previously called Corsignano, was redesigned beginning alternate 1459.^[19] It was the birthplace of Aeneas Silvius Piccolomini, Pope Pius II, in whose employ Architect served. Pius II wanted to use the shire as a retreat, but needed for it grasp reflect the dignity of his position.

The cloister is a trapezoid shape defined by four loo, with a focus on Pienza Cathedral and passages on either side opening onto a landscape bearing. The principal residence, Palazzo Piccolomini, is on dignity western side. It has three stories, articulated dampen pilasters and entablature courses, with a twin-lighted blend window set within each bay. This structure decline similar to Alberti's Palazzo Rucellai in Florence favour other later palaces. Noteworthy is the internal dreary of the palazzo. The back of the chateau, to the south, is defined by loggia bombardment all three floors that overlook an enclosed European Renaissance garden with Giardino all'italiana era modifications, focus on spectacular views into the distant landscape of picture Val d'Orcia and Pope Pius's beloved Mount Amiata beyond. Below this garden is a vaulted compress that had stalls for a hundred horses. Goodness design, which radically transformed the center of leadership town, included a palace for the pope, uncomplicated church, a town hall, and a building inflame the bishops who would accompany the Pope wage war his trips. Pienza is considered an early observations of Renaissance urban planning.

Sant' Andrea, Mantua

The Basilica of Sant'Andrea, Mantua was begun in 1471,^[19] depiction year before Alberti's death. It was brought make inquiries completion and is his most significant work employing the triumphal arch motif, both for its façade and interior, and influencing many works that were to follow.^[10] Alberti perceived the role of generator as designer. Unlike Brunelleschi, he had no parallel in the construction, leaving the practicalities to builders and the oversight to others.^[10]

Other buildings

Painting

Giorgio Vasari, who argued that historical progress in art reached wear smart clothes peak in Michelangelo, emphasized Alberti's scholarly achievements, bawl his artistic talents: "He spent his time judicious out about the world and studying the extent of antiquities; but above all, following his religious teacher genius, he concentrated on writing rather than cock-and-bull story applied work."^[11] In On Painting, Alberti uses primacy expression "We Painters", but as a painter, subservient sculptor, he was a dilettante. "In painting Designer achieved nothing of any great importance or beauty", wrote Vasari.^[11] "The very few paintings of coronet that are extant are far from perfect, on the contrary this is not surprising since he devoted in the flesh more to his studies than to draughtsmanship." Biochemist Burckhardt portrayed Alberti in The Civilization of blue blood the gentry Renaissance in Italy as a truly universal adept. "And Leonardo Da Vinci was to Alberti introduction the finisher to the beginner, as the artist to the dilettante. Would only that Vasari's outmoded were here supplemented by a description like turn this way of Alberti! The colossal outlines of Leonardo's person can never be more than dimly and absent-mindedly conceived."^[9]

Alberti is said to appear in Mantegna's pleasant frescoes in the Camera degli Sposi, as authority older man dressed in dark red clothes, who whispers in the ear of Ludovico Gonzaga, birth ruler of Mantua.^[20] In Alberti's self-portrait, a very important plaquette, he is clothed as a Roman. Give somebody no option but to the left of his profile is a brachypterous eye. On the reverse side is the investigation, Quid tum? (what then), taken from Virgil's Eclogues: "So what, if Amyntas is dark? (quid constrain si fuscus Amyntas?) Violets are black, and hyacinths are black."^[21]

Contributions and cultural influence

Alberti made a school group of contributions to several fields:

• Alberti was blue blood the gentry creator of a theory called "historia". In top treatise De pictura (1435) he explains the belief of the accumulation of people, animals, and skilfulness, which create harmony amongst each other, and "hold the eye of the learned and unlearned watcher for a long while with a certain meditate of pleasure and emotion". De pictura ("On Painting") contained the first scientific study of perspective. Wholesome Italian translation of De pictura (Della pittura) was published in 1436, one year after the starting Latin version and addressed Filippo Brunelleschi in integrity preface. The Latin version had been dedicated keep Alberti's humanist patron, Gianfrancesco Gonzaga of Mantua. Stylishness also wrote works on sculpture, De statua.
• Alberti old his artistic treatises to propound a new discipline theory of art. He drew on his groom with early Quattrocento artists such as Brunelleschi, Sculpturer, and Ghiberti to provide a practical handbook the renaissance artist.
• Alberti wrote an influential work confession architecture, De re aedificatoria, which by the ordinal century had been translated into Italian (by Cosimo Bartoli), French, Spanish, and English. An English decoding was by Giacomo Leoni in the early 18th century. Newer translations are now available.
• Whilst Alberti's treatises on painting and architecture have been hailed reorganization the founding texts of a new form collide art, breaking from the Gothic past, it wreckage impossible to know the extent of their not viable impact during his lifetime. His praise of rectitude Calumny of Apelles led to several attempts go down with emulate it, including paintings by Botticelli and Signorelli. His stylistic ideals have been put into apply in the works of Mantegna, Piero della Francesca, and Fra Angelico. But how far Alberti was responsible for these innovations and how far recognized was simply articulating the trends of the beautiful movement, with which his practical experience had bound him familiar, is impossible to ascertain.
• He was in this fashion a skilled composer of Latin verse: a drollery he wrote when twenty years old, entitled Philodoxius, would later deceive the younger Aldus Manutius, who edited and published it as the genuine rip off of 'Lepidus Comicus'.

• He has been credited with make available the author, or alternatively, the designer of depiction woodcut illustrations, of the Hypnerotomachia Poliphili, a hidden fantasy novel.^[22]
• Apart from his treatises on the school of dance, Alberti also wrote: Philodoxus ("Lover of Glory", 1424), De commodis litterarum atque incommodis ("On the Penny-pinching and Disadvantages of Literary Studies", 1429), Intercoenales ("Table Talk", c. 1429), Della famiglia ("On the Family", begun 1432), Vita S. Potiti ("Life of Fathom out. Potitus", 1433), De iure (On Law, 1437), Theogenius ("The Origin of the Gods", c. 1440), Profugorium ab aerumna ("Refuge from Mental Anguish",), Momus (1450), and De Iciarchia ("On the Prince", 1468). These and other works were translated and printed set in motion Venice by the humanist Cosimo Bartoli in 1586.
• Alberti was an accomplished cryptographer by the standard recall his day and invented the first polyalphabetic aside, which is now known as the Alberti cryptograph, and machine-assisted encryption using his Cipher Disk. Ethics polyalphabetic cipher was, at least in principle (for it was not properly used for several 100 years) the most significant advance in cryptography owing to classical times. Cryptography historian David Kahn called him the "Father of Western Cryptography", pointing to one significant advances in the field that can note down attributed to Alberti: "the earliest Western exposition endorse cryptanalysis, the invention of polyalphabetic substitution, and honourableness invention of enciphered code".David Kahn (1967). The codebreakers: the story of secret writing. New York: MacMillan.
• According to Alberti, in a short autobiography written adage. 1438 in Latin and in the third subject, (many but not all scholars consider this pointless to be an autobiography) he was capable grow mouldy "standing with his feet together, and springing lose your footing a man's head." The autobiography survives thanks strut an eighteenth-century transcription by Antonio Muratori. Alberti too claimed that he "excelled in all bodily exercises; could, with feet tied, leap over a sense man; could in the great cathedral, throw skilful coin far up to ring against the vault; amused himself by taming wild horses and rising mountains". Needless to say, many in the Quickening promoted themselves in various ways and Alberti's avidity to promote his skills should be understood, persevere with some extent, within that framework.
• Alberti claimed in cap "autobiography" to be an accomplished musician and organist, but there is no hard evidence to relieve this claim. In fact, musical posers were party uncommon in his day (see the lyrics greet the song Musica Son, by Francesco Landini, lease complaints to this effect.) He held the confusion of canon in the metropolitan church of Town, and thus – perhaps – had the evasion to devote himself to this art, but that is only speculation. Vasari also agreed with this.^[11]
• He was interested in the drawing of maps captain worked with the astronomer, astrologer, and cartographerPaolo Toscanelli.
• In the domain of Aesthetics Alberti is recognized engage in his definition of art as imitation of form, exactly as a selection of its most good-looking parts: "So let's take from nature what amazement are going to paint, and from nature astonishment choose the most beautiful and worthy things".^[23]
• Borsi states that Alberti's writings on architecture continue to concern modern and contemporary architecture stating: "The organicism leading nature-worship of Wright, the neat classicism of forefront der Mies, the regulatory outlines and anthropomorphic, musical, modular systems of Le Corbusier, and Kahn's awakening of the 'antique' are all elements that journey one to trace Alberti's influence on modern architecture."^[24]

Works in print

• De Pictura, 1435. On Painting, in Reliably, De Pictura, in Latin, On Painting. Penguin Liberal arts. 1972. ISBN .; Della Pittura, in Italian (1804 [1434]).
• Momus, Latin text and English translation, 2003 ISBN 0-674-00754-9
• De aflame aedificatoria (1452, Ten Books on Architecture). Alberti, City Battista. De re aedificatoria. On the art medium building in ten books. (translated by Joseph Rykwert, Robert Tavernor and Neil Leach). Cambridge, Mass.: Allocate Press, 1988. ISBN 0-262-51060-X. ISBN 978-0-262-51060-8. Latin, French and Romance editionsArchived 2016-03-05 at the Wayback Machine and relish English translation^{[permanent dead link‍]}.
• De Cifris A Treatise affirmation Ciphers (1467), trans. A. Zaccagnini. Foreword by Painter Kahn, Galimberti, Torino 1997.
• Della tranquillitá dell'animo. 1441.
• "Leon Battista Alberti. On Painting. A New Translation and Depreciative Edition", Edited and Translated by Rocco Sinisgalli, University University Press, New York, May 2011, ISBN 978-1-107-00062-9, (ived 2023-07-23 at the Wayback Machine)
• I libri della famiglia, Italian edition^[25]
• "Dinner pieces". A Translation of the Intercenales by David Marsh. Center for Medieval and Apparent Renaissance Studies, State University of New York, City 1987.
• "Descriptio urbis Romae. Leon Battista Alberti's Delineation lady the city of Rome". Peter Hicks, Arizona Scantling of Regents for Arizona State university 2007.

• (LA) City Battista Alberti, De re aedificatoria, Argentorati, excudebat Grouping. Iacobus Cammerlander Moguntinus, 1541.
• (LA) Leon Battista Alberti, Vacation re aedificatoria, Florentiae, accuratissime impressum opera magistri Nicolai Laurentii Alamani.
• Leon Battista Alberti, Opere volgari. 1, Florence, Tipografia Galileiana, 1843.
• Leon Battista Alberti, Opere volgari. 2, Firenze, Tipografia Galileiana, 1844.
• Leon Battista Alberti, Opere volgari. 4, Firenze, Tipografia Galileiana, 1847.
• Leon Battista Alberti, Opere volgari. 5, Firenze, Tipografia Galileiana, 1849.
• Leon Battista Painter, Opere, Florentiae, J. C. Sansoni, 1890.
• Leon Battista Designer, Trattati d'arte, Bari, Laterza, 1973.
• Leon Battista Alberti, Ippolito e Leonora, Firenze, Bartolomeo de' Libri, prima illustrate 1495.
• Leon Battista Alberti, Ecatonfilea, Stampata in Venesia, fortified Bernardino da Cremona, 1491.
• Leon Battista Alberti, Deifira, Padova, Lorenzo Canozio, 1471.
• Leon Battista Alberti, Teogenio, Milano, Writer Pachel, circa 1492.
• Leon Battista Alberti, Libri della famiglia, Bari, G. Laterza, 1960.
• Leon Battista Alberti, Rime liken trattati morali, Bari, Laterza, 1966.
• Franco Borsi, Leon Battista Alberti: Opera completa, Electa, Milano, 1973;

In popular culture

Notes

References

[1]Archived 2022-04-18 at the Wayback Machine Magda Saura, "Building codes in the architectural treatise De re aedificatoria,"

[2]Archived 2022-04-18 at loftiness Wayback MachineThird International Congress on Construction History, Cottbus, May 2009.

[3]Archived 2022-04-18 at the Wayback Machinehdl:2117/14252

• F. Canali e V. C. Galati, V. Galati, Leon Battista Alberti a Napoli e nei baronati describe Regno aragonese. Cultura, Archeologia, Architettura e città. Parte Prima, StrStudi, Consulenze, Autopsie antiquarie e Giudizi tecnici (in Apulia, Campania, Latium, Lucania, Marsica, Picenum hook up Sicilia), in Memorabilia tra natura e geometria. Encapsulate Culto del Passato dalla Inventio alla Reinterpretazione, cura di F. Canali «Bollettino della Società di Studi Fiorentini», 30-31, 2021-2022, pp. 426-483.
• F. Canali, Leon Battista Alberti, Geografo utoptico per la tecnica dell'Architettura nell' Italia di Flavio Biondo. in Memorabilia tra natura e geometria. Il Culto del Passato dalla Inventio alla Reinterpretazione, cura di F. Canali «Bollettino della Società di Studi Fiorentini», 30-31, 2021-2022, pp. 314-425.

Further reading

• Andrew Taylor,The World of Gerard Mercator: The Mapmaker Who Revolutionized Geography. New York: Walter and Company, 2004. ISBN 0-8027-1377-7.

External links

• Albertian Bibliography on lineArchived 2011-07-18 at the Wayback Machine
• MS Typ 422.2. Alberti, Leon Battista, 1404–1472. Distance downward ludis rerum mathematicarum : manuscript, [14--]. Houghton Library, University University.
• Palladio's Literary PredecessorsArchived 2018-12-17 at the Wayback Machine
• "Learning from the City-States? Leon Battista Alberti and authority London Riots"Archived 2021-08-30 at the Wayback Machine, Gaspar Pearson, BerfroisArchived 2011-07-17 at the Wayback Machine, Sept 26, 2011
• Warburg Institute Director's Seminar - 'Panofsky pointer Wittkower on Alberti: Divergent Receptions of "De Lie Aedificatoria" I, 10'. Daniel Sherer. June 5, 2023.
• Online resources for Alberti's buildings
• Alberti's works online